Jones 1993, 2020 update by Dan Senn	Glass by Dan Senn See video, Use headphones for full spectrum sound. duration 15:40
"Jones Glass", videotaped on May 4-5, 1993, is a rhythmic mapping of a scrap storage yard and recycling business by the same name in Tacoma, WA. Personal journal records from that time reveal that I was given a wide birth to record the video by the owners and for this I am thankful. I may have used the footage in an installation, but I do not remember. The record of this would also be in my journals kept from 1971. The piece, its sections, was also created with a particular sound track in mind but never applied for this was difficult to achieve in 1993 as I didn't have editing gear. Therefore, a fixed version (combined) was set aside for 27 years, until late September 2020 when the video was transferred to digital and edited using desktop software. This was the first video I made using external timings from an existing and improvised sound work. And then, the track used here is altogether new--yet another concept that intriques me as an organizational principle. This original unused sound track was subsequently used in "Still Moving: Four Sides of a Japanese Language School." "Percussive" video and "rhythmic mapping" are interchangeably used in my descriptions of pieces from this time. I also, sometimes, referred to this method of filming objects close up and rhythmically as "tap recording" that was made possible using a Sony Hi8 CCD-V801 camera which could record as few as three frames (1/10th of a second) when quickly pushing the record button twice enabling visual rhythms. The videos were conceived for playback on two or more monitors in gallery installations as accompanied by my auto playing and manually performed kinetic sculptural instruments. These videos were edited in-camera as I did not have access to video editing gear and this provided an improvisational edge I was familiar with in music. Again, the video were also conceived  to be viewed over two or more monitors simultaneously, a preference developed from easy access to thrift store 13" computer monitors. From late 1992, I was viewing these videos over 2-6 screens at various angles and rotations in my Tacoma studios--the Commerce Street Studio and Shy Anne Studio.	During this period, I was also building/performing non-linear and pendulum-based instruments for installations/performances, these often presented with silent video. My filming was thus informed by the live interactions of all these mediums, including spoken texts, placing nyself squarely withi the fluxus by chance. My attraction to this movement was therefore strong while being grounded Europe. Recent updates of these early videos of mine use mirror images which were impossible in the 1990s unless I used physical mirrors. In this an other 2020 updates, I have maintained the original pixel resolution but expanded mirroring effect via "virtual monitors" rotated, stretched, distorted over a 1920x1080 pixel canvas. Another aspect. In the late 1990s especially, I would work for weeks on a video leaving it silent (without a sound track) for months, years and decades only to, perhaps, impulsively add a sound track from from existing music or any part of my huge library of sound improvisations. Or I might compose/improvise something special. Videos with sound thus arrived in spurts as I combine and recombine mediums wit the unifying factor being a well-integrated interdisciplinary aesthetic. It is difficult to say when a work was completed at times. Yet another... From childhood to the age of 41, my two dimensional art was photography-based. When I purchased a video camera in 1992, every "percussive" frame was shot to have a still photo and 2-dimensional integrity of its own. DS Studio FMEra, 092820	Dan Senn (Prague-Watertown) is an intermedia artist working in music composition and production, kinetic sound sculpture, experimental and documentary film. He has been a professor of music and art in the United States and Australia and travels internationally as a lecturer, performer and installation artist. He lives in Prague where he directs the Echofluxx festivals, and Watertown, Wisconsin, the USA, with his partner-collaborator, Caroline Senn. Dan's work moves freely between expressive extremes and languages depending upon the aesthetic joust at hand. Dan is cofounder of Roulette Intermedium in New York City, Cascadia Composers of Portland Oregon, and the Echofluxx media festivals in Prague. (read more).